The Hunger Games is making quite a stir at the box office — it’s currently the top-grossing film of the year, taking in over $250 million in just 10 days. The popular film was a winning collaboration for Filmmaker Gary Ross and Cinematographer Tom Stern, ASC, AFC who both decided to shoot this futuristic story on film stock rather than with the many digital cameras now available. The April issue of P3 Update has the inside scoop on the making of The Hunger Games as we talk with Stern about his tricks of the trade and the challenges of lighting and shooting an action-based story on location in North Carolina.
We also focus on future with “From 3D to 5D Production of Live Sports in the U.S.,” which explores how 3D technology is creating better ways to capture live-broadcast footage that can be viewed anywhere. New technology incorporates 2D and 3D rigs so camera operators can still do what they do best — shooting great live-sports action — while productions save valuable space in live-event arenas. And the Cameron/Pace Group’s “Shadow D” rig is reshaping how live 3D content is captured.
P3 sits down with acclaimed Filmmaker Martin Scorsese to get his take on shooting Hugo, his very first 3D film. Scorsese takes us back to the beginning of moviemaking as he recounts the experience. We also go on location to the U.S. Virgin Islands to see the advantages that are available to filmmakers looking to shoot in the Caribbean. Many films have been shot on the lush islands of St. Thomas, St. John and St. Croix, and now the advent of DSLR technology has local USVI filmmakers stepping up to create their own content. The U.S. Virgin Islands have a strong infrastructure and support system to tackle any size production, and they welcome the opportunity to help you to tell your story.
Our April issue also included a spotlight on the Midwest Region of the U.S. The states of Illinois, Indiana, Kansas and Missouri all offer professional local talent and other key advantages for visiting productions. And be sure to read this month’s Test Drive on third-party plugins and our Post Q&A with Technicolor Senior Digital Colorist Dave Cole, who discusses color correcting in a digital workflow environment.